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Saturday, October 19, 2013

One of the most interesting artists that I’ve been
discovering is a man named Copernicus (Joseph Smalkowski). What he does is go
through a sermon as he speaks like a poet in the styles of Allen Ginsburg,
William Burroughs, and at times, Jack Kerouac. And after hearing Worthless, I was completely transported
into another world and his styles of Avant-Garde, Jazz, and at times the
Progressive genre, he would grab the three musical sounds and makes this mad,
bizarre, and unexpected adventure that would be sudden movement.

His new album, L’Eternite
Immedite (Immediate Eternity), in which he has been doing this conceptual
piece back in 2001 and he has done this composition, in English and in Spanish.
This time, he’s doing this in French. So after a few listens, I knew that he is
soon going to become one of my favorite artist. Not to mention seven
centerpieces that will get you ready for Copernicus’ adventures.

Poudre is done in
the style of Santana’s Soul Sacrifice as Copernicus goes through this sermon
that he shouts and speaks while the instruments go through a driven fusion-sque
attack thanks to the energetic sounds from Guitarist Cesar Aragundi and drummer
Juan Carlos Zuniga Lopez.

Elsewhere, Libre De
Moi, begins with a Gershwin-like piano introduction done by Newton
Velasquez as he is doing this tribute to the composer as Aragundi goes into an
alarming void on his guitar before the mellowing beat comes in full swing while
the ominous Reves En Ballons, is a
nod to the early ‘70s of French progressive rock group, Ange for a tribute to
them.

Sent L’Inexistence
is a trip into the outer limits as Copernicus creates this ambient and
cavernous atmosphere on the synthesizers as he takes us into the voyages of
space into the Milky Way before guest artist Matty Fillou’s sax comes in for a
jazzy experience. Then, all of a sudden, one track that goes for 10-minutes,
brings a fine touch of Can’s Monster Movie-era with Le Baton as he speaking in the style of Malcolm Mooney as Il N’Y A Pas Difference goes into a
Waltz-like orientation in ¾.

But it’s the closing track, Vive Le Nouveau! That is a piece for the spaceship to head back
hometo Earth for a relaxation on
this Avant-Rock finale. Beginning with a banging gong, bass workout by Freddy
Auz, percussion hypnotism, Copernicus just nails it as the instruments just takes
into uncharted results as Cesar’s guitar work sends it up into a psych-rock
experience while Freddy just gives it the Fusion touches on his bass by helping
the others out while Juan Lopez challenges Keith Tippett on the piano for a
twisted and insane result as the band go into the styles of Aphrodite’s Child and King Crimson’s
Lizard-era.

It is insane, mad, hypnotic, and beautiful at the same time
for Copernicus to unleash another version of the Immediate Eternity sung in a
different language and its something to
expect from the mind of Joseph Smalkowski, and you never know what he would
come with next.

Sunday, October 13, 2013

The Fierce and the Dead have always been one of the most
electrifying bands I’ve listened to. And after hearing some of their EP’s and
their debut album, If It Carries on Like,
This We Are Moving to Morecambe, they create these tension and mysterious
boundaries that is jolting and out of the blue when it comes to their music in
the genres of Post-Rock, Shoegazing, and the Post-Prog Rock sound of the 21st
century. Their new album, Spooky Action, is
a raw electrifying roller-coaster ride that works well and it’s almost like a
powder keg waiting to explode at the right moment.

Matt Stevens, who’s been doing a lot of solo work from his
virtuoso guitar playing, and receiving word-of-mouth from the prog community,
has always carried the torch of the three genres as if he’s making sure the
music is still alive. And alongside Matt, including, Kev Feazey on Bass Guitar,
Steve Cleaton on Guitar, and Stuart Marshall on Drums, you know you’re going to
expect something spectacular and beyond your wildest imagination when you
listen to their second album from beginning, middle, and end.

The concept behind Spooky
Action is basically on darker territories, cults, Quantum physics, and
absent friends and throughout the entire compositions behind the arrangements
you can see where the direction they are taking their sound and vision with
them into unbelievable territories. Part
4 begins with some glowing guitar lines before it becomes a fast-driven
sound thanks to Stuart Marshall’s thumping drum works, Kev’s fuzzy bass lines,
and Steve and Matt’s guitar layered sound and it almost has a Space Rock sound.

Ark, which has
been featured on YouTube of their music video, is very Psychedelia and
Post-Punk as well. Uplifting, loud, and hypnotic is all I can think about this
track. There are some atmospheric and frenzied moments between both the guitars
and the bass coming up with the roaring notes that respects the Larks Tongues
in Aspic-era of King Crimson. Let’s Start
a Cult, almost reminded me a shuffle that the guitarists are doing in the
melody before the wildly sax and Kev’s workout come kicking the door out with a
big bang while Pyramid Hat, has this
weird combination between the Kid A sound of Radiohead and The Mahavishnu
Orchestra’s Inner Mounting Flame as if the two groups had teamed up to create a
mad and insane album that’ll knock the sock out of the Music Business.

I Like It, I’m Into
It, sees the band go into a hyper killer groove as the temperature level
increases between the instruments as it reaches a higher mark on the rhythm
section as they go into the Alternative / Art Rock sound as if they could have
done a score for one of the Sci-Fi films as it goes a Spacey mode as they get
the Starship Enterprise ready for warp speed. Intermission 3, gets the band a chance to relax as the piece goes
into a dark and cavernous place of ‘70s Krautrock tribute to Ash Ra Tempel and
Klaus Schulze’s earlier work as the clapping yet kick-back turned gentle and
uplifting tempos of the title track, gives a shining moment to reach for the
heavens.

And The Bandit,
which reminded me of an underrated post-rock group from England called,
Elastica, gives Kev a chance to come in front with his Bass work and featuring
a bit of the string quartet to go into a classical yet electronic moment before
the catchy rhythms come in as Entropy
captures the essence of the Surf Rock sound of the ‘60s as the mood changes
with some thunderous results of haywire sound of post-prog-punk chords and
ending with a haywire guitar feedback sound. Unexpected and brilliant at the
right moment, to give a surprise twist.

Part 5 is almost a
reprise to the opening track of the fourth part, featuring guitars and sax
doing the melodies as the woodwinds do a stop and go motion when they hit the notes
at the exact moment. I’s very Rock in Opposition as it pays homage to the genre
as the closing track, Chief, is a
calm-turned-nightmarish finale. You can hear the instruments going into a
dreamland atmosphere before the Crimson mode comes in for heavy screams and
then back into the calm after the storm.

It’s a back-and-forth message between relax and evil
thunderstorms that lure ahead, and it’s a wonderful yet sinister ending to
close the album off with a Fripp-like alarm that is waiting for the beast to
awake and start reigning terror. Spooky
Action is a heart-stopping album that is insane and mad for the Fierce and
the Dead to unleash. They have taken their music into a mind-boggling journey
that you would never expect. A must listen to album that is highly recommended.

Thursday, October 10, 2013

Nebraskan native and guitarist, Michael Lee Firkins has been
making music since the release of his first sole self-titled debut album in
1990 and he has released six albums and has also done some guest appearances
from tribute compilations for Hendrix, the Blues, and Cream, and not to mention
an instructional video for Hot Licks on mastering the lead guitar. Now it’s
2013 and after an 8-year long hiatus, he’s back and better than ever.

His eight solo album released this year, simply called, Yep, fills the sound of the
Blues-Southern Rock sounds along with the Roots and the Swamp Rock genres to
get the flow going which is a perfect strategy. Alongside Firkins’ electrifying
guitar work, he brought along some guests including Keyboardist Chuck Leavell,
touring musician for the Rolling Stones and also two members from Govt Mule,
Andy Hess on Bass and Matt Abts on Drums.

At first, its almost a supergroup that Firkins has brought
in, but its an excellent combination of three people with a perfect sound and a
perfect electricity that sets the flow on what is about to come. Opener, Golden Oldie Jam, sets the rocket for
take off. It begins with Chuck doing a tribute to the late Jon Lord by doing a
tribute to him on the Organ before Firkins comes with some sliding rhythms to
get into the vibe.

As the song is more fun, exciting and dancing to the rhythm
of the beat, a real kicking percussion workout done by Abts helps out as
Leavell lays down the soul on the organ before Michael goes into Country and
Bluegrass town on his guitar before going into the highway that is delivered
well and each of them just having a grand old time. And everything is fitted well at the right
time at the right place for each of the members, having a blast recording,
talking about music and enjoying the fun and seeing what they would do next.

Then, there’s more of the excitement. From the down south of
Louisiana and the Physical Graffiti-era of Led Zeppelin flowing in of the
raunchy Cajun Boogie, with its
elevating rhythms and Firkins paying tribute to Jimmy Page to capture the
essence of the ‘70s rock sound to get the task done right, to the ‘50s sound of
the Rockabilly genre with a shuffling groove about success and sensation on Standing Ovation, where the 12-bar sound
of going back to both New Orleans and Memphis that makes you feel right at
home.

He also gets into a soulful ballad dealing with lying and
knowing that it isn’t easy trying to keep a low profile on Long Day. Firkins gives Chuck his chance to shine with Organ and
the Piano as he does some laid-back beauty and comes with some soaring results
that is emotional and uplifting. (And you can imagine this being performed in a
Church and learning what right is right and what’s wrong is wrong)

Elsewhere, Wearin’
Black, is a Country Waltz that has a lot of strength and vitality and you
can imagine this being performed in the bar and just giving the audience a big
jaw-dropping moment on being cool while Take
Me Back is another soulful piece with an acoustic turned rockin’ attitude
as the song deals with a last and final chance to bring a person back and not
going back to his or her demons and getting the errors of their ways behind
them. The spirit of the Rolling Stones is a kindled tribute from their days of
Exile on Main St., but with a Psychedelic Bluesy kick to it on Last Call, as the two-part composition, No More Angry Man is soon going to
become a live favorite.

The first part has a cool yet battering rhythm while the
second part of the composition, is into the shuffling rock mode, with an
eruptive yet volcanic mode and what Michael does is that he switches from the
coolness into an explosive arrangement and just takes it down the road and
seeing where he would take it and just hits every note.

The Cane, which
closes the album off, is done in the style of Blues Saraceno. With Matt Abts
thumping sound to get the tempo right on the drums, sliding fuzztone guitar
licks and Firkins singing through an echo phase in the song, is a haunting and
beautiful. And can he really take it up a notch or what? He takes his
instrument through various motions and goes through the frets that is an
alarming motion to give the guitar a huge wake-up call.

Hypnotic, beautiful, emotional, and raw, Michael Lee Firkins
delivers with an amazingly handshake to let the listener know, he’s back and
he’s going to give the voltage, a huge run by taking it with him, no matter
where goes. Yep is a warm welcoming and return for Firkins.

Thursday, October 3, 2013

Many inspirations can come into different areas at a
different time that pours through the various aspects of life and dualism
between good, evil, male, female, and the ways we travel and look at ourselves
to find out what is it like living in the two different areas of the Waters
themselves. And for Marco De Angelis, he made it exactly like that to tell a
story about the issues in, The River:
Both Sides of the Story. It’s more of this darker and spiritual album that
could have been released in the 1980s.

Incomes the radio static for an introduction before it kicks
into thunderous percussion work, organ, and Gilmour-sque guitar lines while the
harmonizing vocals come into the composition, Tell Me Why as it goes into a soothing calming relaxing nature of
the piece to raise your hand up into the heavens for a chance to find out who
you really are. The electronic vibes shown on Black Stare, has an emotional and sadness of a ballad on a person’s
life through the mistakes and the errors of their ways, shows how they can
correct it and learn to walk forward and forget about the past.

There are the spirits of the late ‘80s/’90s vibe of Pink
Floyd, David Bowie, and of course Marillion, not to mention Genesis as well
that fits the atmosphere of the storyline and you could tell that Marco had
done a lot of research by listening to them by getting the vibe and understand
how they wrote music and how they would do it. The bluesy edgy crunchy riff
sounds of Never Look Back, has a lot
of soul and a lot of energy while Regrets
he channels Roger Waters’ lyrical context as if it was left off during the
sessions for The Pros and Cons of Hitch-Hiking, and you could imagine Marco
almost writing a prequel for Waters solo album that has heart and strong will
power.

The haunting melodic turned floating boundary on What Do You Feel Now? Goes into the homage of Obscured by Clouds
movement as it has some ‘70s vibes that is unexpected as the rhythm is very
laid-back and uplifting at times as the guitar slides through various frets,
bass line is calm, along with the drum patterns. Closer, Fly High, is a node to Genesis and Elton John. What’s really
exciting is that he is doing a node to Afterglow and Rocket Man, and its more
of a tribute and showing how much Marco admires this music so much as it goes
back through his childhood from the moment he picked up an instrument.

I have listened to The
River three times already and Marco is truly a virtuoso musician along with Marcello Catalano's beautiful vocals, and Cristiano Micalizzi's drumming is staggering as well. And when
he puts his toes in the water to see where he would take the music into, is
quite interesting and he would take the band members with him to see where the yellow brick road will take them into. But all in all, this is an awe-inspiring and transcendent
concept album that will take listeners to a journey they never dreamed of.

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About Me

I'm a blogger/freelance writer from Houston, TX who writes album reviews because I enjoy it. Even though, I'm not the best writer, there is no stop sign for me. I have a love of Progressive Rock music, Jazz Fusion, and Early Heavy Metal music from the '60s to the early '80s. I went to HCC (Houston Community College) for nine years and have completed my degree in Music in Performance: Jazz Studies. I've been writing Progressive Rock and Symphonic Metal reviews starting back in 2008 on my blogsite and it never gets old.